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Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ................................................................................................................... -
IFFAM 2943 – East & West Masterpieces on the Big Screen
SUPPLEMENT THU 07.12.2017 SHOWING INSIDE Crossfire Special Presentation Flying Daggers FAQs II Int’l Film Festival EAST & WEST MASTERPIECES ON THE BIG SCREEN he Crossfire feature of the IFFAM, described by organizers as a “retrospective” element of the festival, will showcase six master films selected by renowned filmmakers. From the black and white motion pictures of the 1940s to Kubrick’s sci-fi masterpiece “2001: Space Odyssey” of the 60s and the psychological thriller “Silence of the Lambs”, the genre films hail from THollywood and Asia, the latter represented with seminal works from Kurosawa, Johnnie To and Derek Yee. International Film Festival & Awards Macao CROSSFIRE: A RETROSPECTIVE OF CINEMA FROM KUBRICK TO KUROSAWA The Crossfire feature of the IFFAM will showcase six master films selected by renowned filmmakers. The pictures will be shown on the big screen at The Cinematheque Passion, from December 8 to 12 ONE NITE IN MONGKOK Mongkok, Hong Kong: a densely populated hot- KIND HEARTS AND CORONETS MAD DETECTIVE bed of criminal activity. Mainland Chinese farm Hotshot Inspector Ho seeks out his former boss Bun boy Lai Fu is a hired killer who enters the neon-lit English actors Dennis Price and Sir Alec Guinness underbelly of this infamous district. When he res- star in this 1949 black comedy. Price plays the for help in cracking a serial murder case. Bun, a gifted criminal profiler, went mad years ago and now lives cues a call girl from gangsters, the two must go lead role of Louis d’Ascoyne Mazzini, ninth in line on the run from policemen and triads alike. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
2006011979.Pdf (147.0Kb)
Archived at the Flinders Academic Commons: http://dspace.flinders.edu.au/dspace/ This is the publisher’s copyrighted version of this article. The original can be found at: http://www.realtimearts.net/article/issue85/9026 © 2008 Open City Inc., publisher of RealTime Published version of the paper reproduced here in accordance with the copyright policy of the publisher. Personal use of this material is permitted. However, permission to reprint/republish this material for advertising or promotional purposes or for creating new collective works for resale or redistribution to servers or lists, or to reuse any copyrighted component of this work in other works must be obtained from the publisher of RealTime. This document is a copy of the original html. article which can be found at http://www.realtimearts.net/article/issue85/9026 realtime 85 June-July 2008 last man standing mike walsh on new films by hong kong’s johnnie to Mike Walsh THE HONG KONG FILM INDUSTRY, LIKE THE CITY ITSELF, CHANGES CONVULSIVELY. GONE ARE THE DAYS OF A VIBRANT COMMERCIAL INDUSTRY BASED ON EXUBERANT GENRE FILMS. IF THE LOCAL PANORAMA SECTION AT THE RECENT HONG KONG INTERNATIONAL FILM FESTIVAL IS ANYTHING TO GO BY, THE POSSIBILITIES HAVE POLARISED INTO BIG BUDGET HACK-AND-SLASH HISTORICAL EPICS CO-PRODUCED ON THE MAINLAND OR SMALL CITY-SPECIFIC YOUTH FILMS MADE CHEAPLY BY FILM SCHOOL GRADUATES. It seems that the last man standing in the commercial cinema is Johnnie To Kei-fung. He had three films screening in and around this year’s festival and, at the time of writing, several attempts are underway to bring these films (and the man himself) to Australian cinemas. -
Johnnie to (Pp
MONOGRAPHIES CINÉMATHÈQUE QUÉBÉCOISE Wood, Miles. Cine East : Hong Kong cinema through the looking glass . Guildford : Médiathèque Guy-L.-Coté Fab Press, 1998, 160p. Ill. ; Filmogr. (842-9768 – poste 262) (Courriel : [email protected]) Chapitre constitué d’un entretien avec Johnnie To (pp. 116-129). REPÈRES BIBLIOGRAPHIQUES 67 BREAKING NEWS : un film de Johnnie To . Paris : Pathé Distribution, 2004, 13p. Ill. ; Générique. JOHNNIE TO Documentation pour la presse. ELECTION : a Johnnie To film . Paris : Celluloid Dreams, 2005, 28p. Ill. ; Générique. Documentation pour la presse. RÉTROSPECTIVE Johnnie To, maître en tous CRITIQUES genres (9 au 20 juillet 2008) Baumann, Fabien. « P.T.U. : poétique de la déambulation ». Positif , no 536, octobre 2005, p.47. Ill. ; Générique. Critique du film PTU. Cette bibliographie se veut sélective par rapport aux documents disponibles à la Codelli, Lorenzo. « EXILÉ : 5 x 5 ». Positif , nos 557-558, juillet-août 2007, pp.108-110. Médiathèque. Ceux-ci peuvent être consultés aux heures d'ouverture, du mardi Ill. ; Générique. au vendredi de 13h00 à 20h00. Critique du film FONG JUK . « [L’]œuvre [de Johnnie To] s’affirme comme l’une des plus Elley, Derek. « MAD DETECTIVE ». Variety , no 7, octobre 2007, pp.95-96. intéressantes de Hong-Kong. Son approche, qui concilie le film Critique du film SUN TAAM . de genre et l’expression d’une position d’auteur, débouche avec ÉLECTION 1 et 2 sur un véritable film politique. Johnnie To Ferenczi, Aurélien. « THE MISSION ». Télérama , no 2693, 22 août 2001, p.28. Ill. ; affirme son style en reliant constamment visions de groupe et Générique. portraits plus intimes, un style caractérisé par la noirceur Critique du film CHEUNG FO. -
Urban Space in the Films of Johnnie To*
Concentric: Literary and Cultural Studies 46.1 March 2020: 59-81 DOI: 10.6240/concentric.lit.202003_46(1).0004 The Unexpected Encounter of Two Parallel Lines: Urban Space in the Films of Johnnie To* William Carroll Department of East Asian Languages and Cultures Indiana University Bloomington, USA Abstract In this paper the author compares Hong Kong filmmaker Johnnie To’s (杜琪 峯) formal articulation of urban space in his internationally celebrated crime films with that in his locally popular romantic comedies. Drawing from recent scholarship on urban space in Hong Kong, Chinese, and broader East Asian cinema, he establishes that To’s films in both genres hinge on spatial relationships that are specific to rapidly forming metropolises. However, through close analyses of the crime films Expect the Unexpected (非常突然 Feichang turan, 1998) and Breaking News (大事件 Da shijian, 2004) and the romantic comedies Turn Left, Turn Right (向左走‧向右走 Xiangzuo zou, xiangyou zou, 2003) and Don't Go Breaking My Heart (單身男女 Danshen nannu, 2011), he contends that To’s crime films depict these spatial relationships within a framework of spatial continuity, while his romantic comedies do so within a framework of spatial fragmentation. These two frameworks play into the two genres’ separate dramatic needs: fatalistic confrontation for the crime films vs. delayed reconciliation in the romantic comedies. However, To uses these spatial frameworks within the two genres to explore the ways that urban design can either thwart or facilitate encounters between the inhabitants of a global city. Keywords urban space, industrial genres, film genre, romantic comedies, crime films, spatial continuity, spatial fragmentation, fate, global cities * The author wishes to thank Matt Hubbell, Yueling Ji, Gary Kafer, Katerina Korola, Mikki Kressbach, David Krolokoski, Cooper Long, Nicole Morse, Jordan Schonig, H.S. -
Jim's Video List 1 Filter: Minimum Score of 7 Or a Special Recommendation
11/07/20 Jim's Video List 1 Filter: Minimum score of 7 or a special recommendation. This is a non-official, pseudo-scientific list of less-than-obvious movies that I've seen and are worth your viewing time, keeping in mind that I like many different kinds of movies. All ratings are just a quick guide to relative enjoyability and socially redeeming value (if any). Also included are films of suspect social value but which left me really glad I had seen them at least once. What results is a hodge-podge of films that should keep you from taking home a real turkey. Note: Subsections like "CULT" are sorted by year. 123... '71 8 Well-crafted action thriller in which a British soldier is separated from Strause, The Brothers (2014) Action / Drama [R] his unit during a street battle in Belfast and must make his way through the labyrinth of city streets and hidden agendas of those he meets. 10 Cloverfield Lane 8 A unique bit of tense, cross-genre fun as a young woman wakes up in Trachtenberg, Dan (2016) Thriller / Horror a secure bunker, saved from World War III by a survivalist. Maybe. Or [PG-13] maybe it's from something else. Or maybe she's not safe at all. Well, damn. 10 Items Or Less 7 In this small "day in two lives" comedy-drama, an actor researching a Silberling, Brad (2006) Drama / Comedy [R] part meets a tough but dejected cashier and pushes her along a path on which she was only taking tentative steps. -
Hong Kong Filmmakers Search: Johnnie TO
Johnnie TO 杜琪峯(b. 1955.4.22) Producer, Director A native of Puning, Guangdong, To was born in Hong Kong. At 17, he was a messenger at Television Broadcasts Limited (TVB); he later joined its drama unit and mentored under Chung King-fai. By Chung’s recommendation, To enrolled in TVB’s performing artist training programme in 1974. Upon graduation, he became a production assistant and was later being promoted to director. He worked closely with producer Wong Tin-lam, creating drama series such as Book and Sword (1976), Luk Siu Fung (1976), Romantic Swordsman (1978), and Young's Female Warrior (1981). His first TV directing debut was Vanity Fair (1978). In 1980, To directed his first film feature The Enigmatic Case (1980), yet he continued to work in television afterwards. In the late 1980s, he was mainly producing films for television. To later returned to film and joined Cinema City in 1986, where he served as executive director on Happy Ghost III (1986) and directed Seven Years Itch (1987), The Fun, the Luck & the Tycoon (1990) as well as the box-office record breaker Eighth Happiness (1988). While his work in Cinema City was mainly comedy, he also directed the romantic flick All About Ah-Long in 1989, demonstrating his ability in mastering multiple film genres including drama genre films. In 1990, he founded Paka Hill Film Production Co. with Raymond Wong and Catherine Hun, directing such films as Casino Raiders II (1991) and The Heroic Trio (1993). To joined Cosmopolitan Film Productions Co., Ltd. in the early 1990s, and directed The Story of My Son (1990), The Mad Monk (1993), Loving You (1995) and Lifeline (1997), etc. -
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W_4390:W_ 25.01.2008 20:10 Uhr Seite 66 Berlinale 2008 MAN JEUK Wettbewerb SPARROW SPARROW SPARROW Regie: Johnnie To Hongkong, China 2008 Darsteller Kei Simon Yam Länge 87 Min. Chun Lei Kelly Lin Format 35 mm, und Lam Ka Tung Cinemascope Lo Hoi Pang Farbe Law Wing Cheong Kenneth Cheung Stabliste Buch Chan Kin Chung Fung Chih Chiang Kamera Cheng Siu Keung Schnitt David Richardson Ton Martin Chappell Musik Xavier Jamaux; Fred Avril Ausstattung Tony Yu Kostüm Stanley Cheung Herstellungsltg. Ding Yuin Shan Produktionsltg. Jackson Ha Produzent Johnnie To Executive Producers Daneil Lam Chiu Suet Ying Produktion Milkyway Image (Hong Kong) Ltd. 1/F, Milkyway Bldg., 77 Hung To Road, Kwun Tong HK-Hong Kong Tel.: +852 27188929 Fax: +852 23431271 [email protected] Weltvertrieb Universe Films Distribution 18/F, Wyler Centre Phase 2 200 Tai Lin Pai Road, Kwai Chung HK-Hong Kong Tel.: +852 24163008 Fax: +852 24147207 [email protected] SPARROW „Sparrow“, Spatz, ist ein geläufiges Wort im Hongkonger Straßenslang – so werden dort die Taschendiebe genannt. Der Ausdruck spielt an auf die besondere Fingerfertigkeit, die man benötigt, um sich Portemonnaies aus fremder Leute Taschen herauszupicken … und möglicherweise auch auf die Notwendigkeit, im Falle der Entdeckung rasch auf und davon zu fliegen. 66 W_4390:W_ 25.01.2008 20:10 Uhr Seite 67 Kei ist einer dieser „Spatzen“, und ein sehr professioneller. Zusammen mit Filmografie drei Partnern lebt er ganz gut davon, im Straßengewühl von Hongkong tief Auswahl (Internationale Titel) in die Taschen ahnungsloser Passanten zu greifen. Für Kei reicht es jeden- 1978 THE ENIGMATIC CASE falls zu einem sorgenfreien Leben. -
Perspectives Chinoises, 2009\/1 | Janvier-Mars 2009
Perspectives chinoises 2009/1 | janvier-mars 2009 La société chinoise face au SIDA Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film Hong Kong, Hong Kong University Press, 2007, 294 p Kristof Van Den Troost Édition électronique URL : http://journals.openedition.org/perspectiveschinoises/5196 ISSN : 1996-4609 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 avril 2009 Pagination : 121-123 ISBN : 978-2-9533678-0-5 ISSN : 1021-9013 Référence électronique Kristof Van Den Troost, « Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film », Perspectives chinoises [En ligne], 2009/1 | janvier-mars 2009, mis en ligne le 01 avril 2009, consulté le 03 mai 2019. URL : http://journals.openedition.org/perspectiveschinoises/5196 Ce document a été généré automatiquement le 3 mai 2019. © Tous droits réservés Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film 1 Stephen Teo, Director in Action: Johnnie To and the Hong Kong Action Film Hong Kong, Hong Kong University Press, 2007, 294 p Kristof Van Den Troost 1 L’un des réalisateurs de Hong Kong actuellement les plus marquants, Johnnie To Keifung, a fait l’objet ces dernières années d’une attention croissante dans les festivals internationaux, avec des films comme Breaking News (2004), Election I & II (2005-2006), Exiled (2006), The Mad Detective (2007) et plus récemment, Sparrow (2008). Bien qu’on le désigne parfois comme le poète du Hong Kong de l’après 1997, la carrière de To remonte en fait aux années 1980 et, en tant que l’un des rares réalisateurs a avoir conservé une haute productivité y compris après le déclin de l’industrie locale du cinéma, son CV peut s’enorgueillir de près de 50 films. -
Matrix Jon Stratton 27
7KH0DWUL[LQ7KHRU\ &ULWLFDO6WXGLHV 9RO *HQHUDO(GLWRU 0\ULDP'LRFDUHW] (XURSHDQ&HQWUHIRU'LJLWDO&RPPXQLFDWLRQ,QIRQRPLFV (GLWRULDO%RDUG $QQH(%HUJHU&RUQHOO8QLYHUVLW\ ,YDQ&DOOXV8QLYHUVLW\RI0DOWD 6WHIDQ+HUEUHFKWHU7ULQLW\DQG$OO6DLQWV8QLYHUVLW\RI/HHGV 0DUWD6HJDUUD8QLYHUVLWDWGH%DUFHORQD $PVWHUGDP1HZ<RUN1< 7KH0DWUL[LQ7KHRU\ (GLWHGE\ 0\ULDP'LRFDUHW]DQG 6WHIDQ+HUEUHFKWHU &RYHULOOXVWUDWLRQ0LFNDHO$FNHUPDQV PLFNDHOEORHPNRRO#KRWPDLOFRP &RYHUGHVLJQ3LHU3RVW 7KHSDSHURQZKLFKWKLVERRNLVSULQWHGPHHWVWKHUHTXLUHPHQWVRI³,62 ,QIRUPDWLRQDQGGRFXPHQWDWLRQ3DSHUIRUGRFXPHQWV 5HTXLUHPHQWVIRUSHUPDQHQFH´ ,6%1 (GLWLRQV5RGRSL%9$PVWHUGDP1HZ<RUN1< 3ULQWHGLQWKH1HWKHUODQGV TABLE OF CONTENTS Introduction Stefan Herbrechter 7 Section One: Cultural Phenomenon 25 “So Tonight I’m Gonna Party Like It’s 1999”: Looking Forward to The Matrix Jon Stratton 27 Revolution in The Matrix: A Cue Call for Reflexive Sociology Kimberly Barton 53 Enter the Matrix: Interactivity and the Logic of Digital Capitalism Christian Krug and Joachim Frenk 73 Section Two: Virtualities 95 Philosophy and The Matrix Chris Falzon 97 Simulacra, Simulation and The Matrix Sven Lutzka 113 Is There an Exit from “Virtual Reality?” Grid and Network – From Tron to The Matrix Elie During 131 Section Three: Embodiment 151 Technofantasies and Embodiment Don Ihde 153 Queering The Matrix: Hacking the Digital Divide and Slashing into the Future Aimee Bahng 167 Sexing The Matrix: Gender and Sexuality in/as Cyberfiction Rainer Emig 193 Section Four: Theory 209 Matrix – The New Constitution Between Hardware, Software and Wetware Denisa Kera 211 The Matrix Trilogy and the Triumph of Virtual Reason – Territorialized Topoi, Nomadic Lines Salah el Moncef bin Khalifa 227 The Posthuman Subject in The Matrix Stefan Herbrechter 249 “New Theory?” The Posthumanist Academy and the Beguilements of the Matrix Trilogy Ivan Callus 291 Contributors 311 INTRODUCTION THEORY IN THE MATRIX STEFAN HERBRECHTER The Matrix trilogy continues to split opinions widely, polarising the downright dismissive and the wildly enthusiastic.